Christoph Grunenberg

Marian Bisanz-Prakken

Susanna Partsch

Anette Freytag

Evelyn Benesch

Michaela Reichel

Rainald Franz

Angelina Pötschner

The prince of decadence: Looking at Klimt in a whole new light: a groundbreaking monograph The countless events being held to celebrate the 150th anniversary of his birth make a clear statement to the enduring appreciation for the work of Gustav Klimt. Not that it takes such a special occasion for the press and the public to start talking about Klimt. More than two hundred articles about the artist appeared online in August 2011 alone, in comparison with barely seventy on Rembrandt within the same period. This media publicity set editor Tobias G. Natter thinking about the value of compiling the present book. During his lifetime, Klimt was a controversial star whose works made passions run high; he stood for Modernism but he also embodied tradition. His pictures polarized and divided the art-loving world. Journalists and general public alike were split over the question: For or against Klimt? The present publication therefore places particular emphasis upon the voices of Klimt's contemporaries via a series of essays examining reactions to his work throughout his career. Subjects range from Klimt's portrayal of women to his adoption of landscape painting in the second half of his life. The cliché that Gustav Klimt was a man of few words who rarely put pen to paper is vehemently dispelled: no less than 179 letters, cards, writings and other documents are included in this monograph. This wealth of archival material, assembled here for the first time on such a scale, represents a major contribution to Klimt scholarship. Defining features of this edition: Catalog of Klimt's complete paintings All known letter correspondence Featuring new photographs of the Stoclet Frieze commissioned exclusively for this book Contributing authors: Evelyn Benesch, Marian Bisanz-Prakken, Rainald Franz, Anette Freytag, Christoph Grunenberg, Hansjörg Krug, Susanna Partsch, Angelina Pötschner and Michaela Reichel

Sämtliche Gemälde

Gustav Klimt

Timothy Wilson

Lilli Hollein

* The MAK's holdings of maiolica shown in a dialogue with other well-known Austrian and Central European collections* A scholarly exploration of one of the best collections of maiolica for the first time* Several essays provide an extensive insight into the cultural and historical context of maiolica tableware* Accompanies an exhibition at the MAK - Museum of Applied Arts, Vienna (AT), 6 April - 7 August 202The Museum of Applied Arts (MAK) in Vienna holds a unique collection of Italian maiolica from the 15th to the 18th century, which is now being published almost in its entirety for the very first time. Maiolica tableware, Italy's luxury export, spread to the courts of northern Europe from the early 16th century. Today, the MAK's holdings from former imperial, ecclesiastical, aristocratic, and private ownership enter into a dialog with maiolica from well-known Austrian and Central European collections. Timothy Wilson, professor emeritus at Balliol College Oxford and former Keeper of Western Art at the Ashmolean Museum in Oxford, and Rainald Franz, curator at MAK, together with other experts provide an extensive insight into the development of maiolica in its cultural and historical context. Thus a scholarly exploration of one of the best collections of maiolica in the world has now been scientifically examined for the very first time.With contributions by Rainald Franz, Michael Göbl, Nikolaus Hofer, and Timothy Wilson.

Tin Glazing and Image Culture

Tin Glazing and Image Culture Hb

Christoph Thun-Hohenstein

In 2018 the Vienna Porcelain Manufactory celebrates its 300th anniversary. Having obtained the charter to produce porcelain in 1718, it is considered the second oldest porcelain manufactory in Europe after Meissen. The volume accompanying the exhibition in the MAK ? Austrian Museum of Applied Arts / Contemporary Art in Vienna will now reopen the history of the Vienna Porcelain Manufactory, which closed in 1864, where major works such as the porcelain chamber from the Palais Dubsky (Dubsky Room) and the Zwettl centrepiece are presented in light of new findings. With numerous illustrations of leading pieces from the MAK?s collection and international loans, the catalogue attests to the significance that Viennese porcelain has enjoyed as an outstanding cultural achievement of Austria since the Baroque era.00Exhibition: MAK - Austrian Museum of Applied Arts/Contemporary Art, Vienna, Austria (16.05. - 23.09.2018).

300 Jahre Wiener Porzellanmanufaktur

Österreichisches Museum für Angewandte Kunst

Josef Franz Maria Hoffmann

Hanna Egger

MAK-Austrian Museum of Applied Arts, Vienna

Josef Hoffmann Designs

The second catalog dedicated to international developments in twentieth- century glass, after Glass from Finland in the Bischofberger Collection. Published in collaboration with the MAK Vienna and LE STANZE DEL VETRO on the occasion of the exhibition in Venice, this volume presents over 300 works from the collection of the MAK Austrian Museum of Applied Arts/Contemporary Art in Vienna and private collections. It focuses, for the first time, on the history of glassmaking in Austria from 1900 to 1937, a period spanning the last decades of the Austro-Hungarian Empire and the First Republic. In the early twentieth century, a group of young architects, designers, and fine arts and architecture students developed a special interest in the process of glassmaking. They paved the way to the first pioneering developments in twentieth-century glass production as they gained a thorough understanding of the material. The collaboration between architects and designers created the style of Viennese glass, found in new projects such as the Wiener Werkst�tte or the Austrian Werkbund.

Vienna 1900-1937

The Glass of the Architects

Rainald Franz

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